™ & © The Simpsons and TTCFFC all rights reserved. ™ & © Fox Broadcasting. Credit: Fox.

NC: When did The Simpsons really hit its stride and why?

DS: The Simpsons were an immediate hit. I think the whole concept of doing an animated show with top comedy writers was an idea waiting to happen, and it happened with Matt [Groening]'s inspired creation of characters and concept. So the combination was really potent!

My opinion, which is shared by colleague Brad Bird, is the second season was incredible. Each episode introduced a new facet to the Simpsons universe, often a new character that would become a regular. Additionally, the artwork was improving leaps and bounds. The first season was a struggle for Wes and me particularly. We were trying to teach the whole crew how we drew the characters, and trying to get the shows done! Some of the first year artists took to it right away, some took longer. But season two was a marked improvement in design and consistency, and by season three things were starting to click. I suppose we hit our stride by the fourth season, from an artistic standpoint -- but -- from the point of view of the whole show, we did hit our stride as early as season two!

NC: The animation industry has the reputation of being a very tight-knit group, from writers to animators to voices. What does it take to be successful in this part of the business?

DS: Success is always opportunity plus preparedness. That lucky break is only lucky if you have the skill and creativity to capitalize on it. I had my portfolio and the films I made at UCLA to show around to people. That got me the job. Then I worked as hard as I could to do good work. It didn't matter if it was a small or big job. I was always worked for two people -- the client, and myself. All the jobs I got would enlarge my portfolio, and increase my chances at getting more jobs.

NC: So, if I am interested in being a director for animation, what steps would I take?

DS: Well, these days, I don't really know. My path was taking on all sorts of gigs, and exposing myself to as many different people as possible. Doing different aspects of the animation business is useful, as you experience each facet of the process. Hard to say, everyone's path is different, everyone's background is different. I didn't have a plan, other than to stay open to new experiences.

NC: What are my chances of a successful career in animation if I don't live in New York or Los Angeles?

DS: Well, there can be a case argued that as animation filmmaking becomes more doable on your laptop, you can be anywhere and make a film! The work I've seen at international film festivals demonstrates there's great work being done all over the planet.

Big success comes at the big studios, and most are in L.A. Of course, there's Pixar near S.F., PDI DreamWorks in Redwood City, CA, Blue Sky [now in Greenwich, Connecticut], Aardman in London, LAIKA in Portland and Robert Zemeckis' ImageMovers Digital in Novato, CA. So, I can't say. It's everywhere, baby! (lights cigar).

NC: It used to be that voice-overs merely supplemented an artists' desire to act on camera. Nowadays, you can't watch an animated film without seeing the name of a celebrity. Do you believe that any actor could do voice-over work? What constitutes a good performance from a voice-artist?

DS: I am not convinced every actor has the talent to be a great voice-over actor. In the early days, all of them came out of radio. There was a reason for that; these performers were experienced in conveying characters entirely with their voice. Some actors just have more personality in their voice than others.

When I hear a great voice, I can see a great performance.

NC: You were a film student at UCLA and I was a Theater Arts major. Do you remember how we met and what "handshake agreement" we made at the time? How important is networking/relationships in this business?

DS: I remember that very well! We agreed that we'd work together someday, with me directing, and you acting! And that's exactly what happened.

Though -- completely independent of us and out of our hands! I didn't hire or suggest you, nor vice-versa. You came by the studio on 729 Seward, and it was suddenly a UCLA reunion. Well, that's how I remember it anyhow.

But, as I illustrated before with my friendships with Bill Kopp and Wes Archer, yes, these relationships are important in this business. Probably like most businesses!

NC: How does integrity influence the success of a show?

DS: The Simpsons is starting the 21st season. One of the reasons for its success is the integrity of everyone who works on the show. Every writer, animator, actor, director, musician, producer, production person -- everyone is dedicated to making a good show, because they all love the show. And this integrity continues to all the ancillary products.

Well, we must be doing something right.

NC: What is your proudest artistic achievement?

DS: I am proud of everything I've worked on -- even The Adventures of Mr. T! The Simpsons Movie I'm most proud of -- but that may be due to the fact that it's the most recent thing I've done!

Nancy Cartwright is best known as the voice of spiky-headed Bart Simpson on The Simpsons. She has voiced dozens of cartoon characters in a career that has spanned more than 20 years. Currently, she can be heard as the voice of Rufus the Naked Mole Rat on Disney's Kim Possible and Todd Daring in Disney's The Replacements. To learn more about Nancy's career, listen to her audio book My Life as a 10-Year-Old Boy.